The last few years have seen a spate of classical music compositions
for electronically amplified instruments. I suppose it began in 2003 with John
Adams’ The Dharma at Big Sur, which
featured an amplified violin and was one of the works that help open Walt
Disney Concert Hall. Earlier this fall came Derek Bermel’s Ritornello (for electric guitar and orchestra), which opened the
Los Angeles Chamber Orchestra’s 2011-2012 season (LINK).

This weekend, the Phil got back in the game with the world
premiere of Magnetar, Concerto for
Electric Cello by 37-year-old Mexican composer-guitarist Enrico Chapela, a
considerably heftier work (at 25 minutes) than Bermel’s 14-minute baroque-like
ditty.

What is an electronic cello (e-cello, for short)? The
instrument looks like the shell of a cello — there’s a standard bridge,
fingerboard and tail and the framework is shaped like a cello — but there’s no
wood on the front or back to provide resonance (as he introduced the piece last
night, Gustavo Dudamel called it a “ghost cello”). The sounds are created
through two pickups (one is under the bridge) hooked up to a computer system that
pours the sound out through two large amplifiers surrounding the soloist.

As Johannes Moser noted in last night’s preconcert lecture,
he’s playing the instrument but the sounds are totally generated by the sound
system (the computer is controlled by Esteban Chapela, the composer’s nephew). “After
spending 20 years producing the sound from next to my belly,” said Moser, “it
was really hard getting used to ‘outsourcing’ the sound.” Aside from bowing and
fingering, Moser also uses two foot pedals to control volume and the “waa-waa”
sounds that often show up during the piece. “I feel like an organist using both
my hands and feet,” said Moser. “That took some getting used to.”

The concerto has three movement, which the composer terms “fast,”
“slow” and “brutal.” The title of the work refers to a rare type of pulsars in
space, which have gigantic magnetic fields that explode out of cosmic noise
(represented at the beginning and end of the first movement by the orchestra
players rubbing their hands together and later stomping their feet rapidly).

Throughout the piece, Chapela provides massive, periodic bursts
of sound to further illustrate the theme. A lot of that sounds comes from a
massive percussion section that included crotales, tubular bells, vibratone,
suspended cymbals, tam-tam, tom-toms, bass drum, vibraphone, spring drum,
tambourine, snare drums and timpani.

There were moments when the “e-cello” sounded simply like an
amplified guitar, but there were also times, including in a cadenza that
separated the first and second movement, when it produced lots of squeaks,
scratches, other assorted sounds and noise, although I’m not sure you could
call it music.

Fortunately, the second movement featured a haunting, bluesy
jazz motif and dueling “waa-waas” between the ecello and various instruments (including
trumpet and timpani) that, for me at any rate, became the highlight of the
piece.

The “brutal” third movement was just that in terms of its
speed and complexity, both for the orchestra and the soloist. Moser and the
percussion led the way to a splashy conclusion that brought forth a big ovation
for all concerned, including the composer. Dudamel bobbed, weaved and danced
his way through the accompaniment and — especially considering how little time
it ad to prepare the piece — the orchestra was remarkably precise and
expressive in its playing.

Prior to the performance, Moser introduced Magnetar by saying, “Chapela writes
music for now; he doesn’t care what it might sound like 50 years from now.”
Judging the reaction from the large number of younger people (as well as older ones) in the audience,
what he wrote for the “now” was exceedingly popular. Both the composer and his
father, who was one of the dedicatees, were in the audience.

The entire night was a showcase for percussion beginning
with John Adams’ four-minute 1986 fanfare, Short
Ride in a Fast Machine. To no one’s great surprise, the orchestra played it
with exuberance and impeccable rhythmic precision. However, what struck me the
most was how Adams has grown in his compositional style since those minimalist
days of 25 years ago. It would have been instructive to hear Short Ride paired with, for example, City Noir, the work with which Dudamel
opened his Disney Hall tenure as LAPO music director three years ago, if for no
other reason than to hear the stylistic differences.

The evening concluded with Prokofiev’s Symphony No. 5, which
like Shostakovich’s Symphony No. 7 (Leningrad),was composed in the crucible of World War II. However, unlike
Shostakovich’s work — which was written about and during the siege of what is
now known as St. Petersburg — Prokofiev’s 5th was composed in the
summer of 1944, shortly after the D-Day landings, and by the time it was premiered
in January 1945, the conflict’s end was in sight.

While it’s the most popular of Prokofiev’s symphonies, the
fifth isn’t really a mainstream work, although Dudamel and the orchestra did
their best to argue a persuasive case for its inclusion. Dudamel reverted to
having all the violins seated to his left with the violas outside on the right
and the string basses next to the violas stretching to the rear of the ensemble,
which helped to accentuate the rich, resonant string tones that poured out all
night, beginning with the first movement, which Dudamel took at a magisterial
pace.

The scherzo leaned
heavily on the sardonic tune that bounces from section to section. The broodingadagio, which was highlighted by
sparkling solo work from Principal Clarinet Lorin Levee, led without pause to
the finale, which concludes with the sort of whiz-bang finish guaranteed to
send the crowd home happy. However, since this program is being played Sunday
at Davies Hall in San Francisco, Dudamel and Co. offered a gentle rendition of
Prokofiev’s Gavotte from his Classical Symphony as an encore.

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Hemidemisemiquavers:

The Phil’s two-day appearance up north is part of the San
Francisco Symphony’s centennial celebration; the Phil is the first of several visiting
American orchestras that will be appearing during upcoming months. Monday’s
concert is a repeat of the season-opening Disney Hall concert earlier this
month: Adams’ Tromba Iontana, Esteban
Benzecry’s Rtuales Amerindios, and
Berlioz’ Symphonie Fantastique (ReviewLINK)

If you’re interested in reading more about Magnetar and the electric cello (the instrument was created by Yamaha), the
program notes are HERE.

Tao Ni was principal cellist for last night’s concert
(he’ll also play Sunday night in San Francisco). According to a LAPO
spokesperson, he is taking part in an audition for the orchestra’s vacant
associate principal position.

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(c) Copyright 2011, Robert D. Thomas. All rights reserved.
Portions may be quoted with attribution.

A shorter version of this
article will be published tomorrow in the above papers.

______________________

In every classical-music season there are one or two weeks
where the operating word is “overload.” The upcoming fortnight counts as one of
those blocks, especially as it comes on the heels of an extremely busy weekend.
Chronologically, here are some of the major upcoming events (check my Blog for
additions, updates, more details and reviews):

Music Director Jeffrey Kahane leads his ensemble in
Beethoven’s Symphony No. 3 (Eroica).
Canadian soprano Karina Gauvin will be the soloist in Britten’s Les illuminations and Now sleeps the crimson petal.Info: 213/622-7001; www.laco.org

Tomorrow (Sunday)
at 7 p.m. at Walt Disney Concert Hall, Los Angeles

Los Angeles Master
Chorale

Music Director Grant Gershon leads the Chorale in the
opening concert of its 48th season with the U.S. premiere of Music for a big church; for tranquility
by Swedish composer Thomas Jennefelt and Morton Lauridsen’s Lux Aeterna, one of the most popular
compositions of the last quarter century. Paul Meier accompanies on the Disney
Hall organ. Info: 213/972-7282; www.lamc.org

Tuesday at 8 p.m.
at Valley Performing Arts Center, Northridge

Mariinsky Theater
Orchestra

Valery Gergiev leads this famed Russian orchestra (formerly
known as the Kirov) in a program of Stravinsky, Prokofiev and Shostakovich. Alexander
Toradze will be the soloist in Prokofiev’s Piano Concerto No. 3. Info: 818) 677-3000; www.valleyperformingartscenter.org

Thursday and Friday
at 8 p.m. at Walt Disney Concert Hall

Los Angeles
Philharmonic

Music Director Gustavo Dudamel conducts music by John Adams
and Prokofiev. Johannes Moser will be the soloist in the world premiere of Magnetar, concerto for electric cello by
Mexican composer/guitarist Enrico Chapela. “What,” you ask, “is an electric
cello?” Read all about it and the piece in the words of the composer HERE. Info: 323/850-2000; www.laphil.com

Saturday at 7:30
p.m. at Pasadena Presbyterian Church

Cappella Gloriana

This San Diego professional chorale opens the church’s Friends of Music series of nine free
concerts performing music by its founder and director, Stephen Sturk, with
organist Martin Green and the San Diego Harmony Ringers Handbell Choir. Info: 626/793-2191; www.ppc.net

Saturday at 8 p.m.
at Ambassador Auditorium

The Colburn Orchestra

Music Director Yehuda Gilad leads his excellent ensemble in
Brahms’ Symphony No. 3 and Shostakovich’s Festive
Overture and Cello Concerto No. 1. Colburn student Estelle Choi will be the
soloist in the concerto. The concert is free but tickets must be downloaded
through the school’s Web site. Info: www.colburnschool.edu

October 23 at 6
p.m. at Royce Hall (UCLA)

American Youth
Symphony

Music Director Alexander Treger leads another of the
region’s top-notch training orchestras in Bernstein’s Candide Overture andTchaikovsky’s
Symphony No. 5. Rod Gilfry will be the soloist in selections from Carousel, West Side Story, Sweeney Todd and The Most Happy Fella. The concert is free (although a
$10 donation is suggested); make reservations through the orchestra’s Web site.Info: aysmphony.org

October 28 and 29
at 8:30 p.m. and 30 at 7 p.m. at REDCAT (Walt Disney Concert Hall)

Southwest Chamber
Music

The Golden Quartet helps SWCM open its 25th season
with Wadada Lee Smith’s Ten Freedom
Summers, which takes three evenings to perform and is inspired by the
1954-64 years of the Civil Rights Movement. Get details on the composition HERE.Concert and ticket info: www.swmusic.org

Oct. 29 at 2 p.m.
and 8 p.m. at Ambassador Auditorium, Pasadena

Pasadena Symphony

Rising conducting star Mei-Ann Chen leads the PSO in its
opening concerts with a program that concludes with Tchaikovsky’s Symphony No.
5. James Ehnes will be the soloist in Korngold’s Violin Concerto. My profile of
Chen is HERE. Info: 626/793-7172;www.pasadenasymphony-pops.org

Oct. 29 at 4 p.m.
at Downey Civic Theatre

Chorale Bel Canto and
Opera a la Carte

The Whittier-based chorus opens its 30th season
by joining with Opera a la Carte in an unusual program (for CBC, that is):
Gilbert and Sullivan’s The Pirates of
Penzance. Richard Sheldon, who founded Opera a la Carte in 1970, stars as
the Modern Major General. Info:
562/861-8211; www.choralebelcanto.org

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(c) Copyright 2011, Robert D. Thomas. All rights reserved.
Portions may be quoted with attribution.